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^ BOSTON SYMPHONY ORCHESTRA

FOUNDED IN I88I BY HENRY LEE HIGGINSON

|/f|\ f|S SANDERS THEATRE

'^\|l Vl'fr 1 1 fc'^-^^ (Harvard University) 6C -^4^

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EIGHTIETH SEASO 1960-1961 HIS DEDICATION AND INTERPRETIVE POWERS ARE MOVINGLY REVEALED IN FINEST LIVING STEREO ON RCAVictor records exclusively

Other recent albums by Charles Munch and the Boston Symphony in Living Stereo and regular L.P.— Saint-

Saens: Symphony No. 3; Beethoven: Symphony No. 3 ("Eroica"). Monophonic only— Ravel: Daphnis and Chloe.

[2] EIGHTIETH SEASON, 1960-1961

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

CONCERT BULLETIN

with historical and descriptive notes by

John N. Burk

The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer

Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen Lewis Perry Edward A. Taft

Thomas D. Perry, Jr., Manager

Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [S] Boston Symphony Orchestra

(Eightieth Season, i960- 1961) CHARLES MUNCH, Music Director RICHARD BURGIN. Associate Conductor PERSONNEL

Violins CrxLos Bassoons Richard Burgin Samuel Mayes Sherman Walt Concert-master Alfred Zighera Ernst Panenka Alfred Krips Jacobus Langendoen Theodore Brewster George Zazofsky Mischa Nieland Contra Bassoon Rolland Tapley Karl Zeise Joseph Sih'erstein Martin Hoherman Richard Plaster Vladimir Resnikoff Bernard Parronchi Horns Harry Dickson Richard Kapuscinski Stagliano Gottfried Wilfinger James Robert Ripley Charles Yancich Einar Hansen Winifred Winograd Joseph Leibovici Harry Shapiro Louis Berger Harold Meek Emil Kornsand John Sant Ambrogio Roger Shermont Paul Keaney Osbourne McConathy Minot Beale Basses Herman Silberman Georges Moleux Trumpets Stanley Benson Henry Freeman Leo Panasevich Roger Voisin Irving Frankel Sheldon Rotenberg Armando Ghitalla Henry Portnoi Fredy Ostrovsky Andre Come Henri Girard Noah Bielski Gerard Goguen John Barwicki Clarence Knudson Leslie Martin Trombones Pierre Mayer Ortiz Walton William Gibson Manuel Zung William Moyer Samuel Diamond Flutes Kauko Kahila William Marshall Doriot Anthony Dwyer Josef Orosz Leonard Moss James Pappoutsakis William Waterhouse Tuba Phillip Kaplan Alfred Schneider K. Vinal Smith Victor Manusevitch Piccolo Laszlo Nagy Timpani George Madsen Ayrton Pinto Everett Firth Michel Sasson Oboes Harold Farberman Lloyd Stonestreet Gomberg Julius Schulman Ralph Percussion de Vergie Raymond Sird Jean Charles Smith John Holmes Violas Harold Thompson Arthur Press Joseph de Pasquale English Horn Jean Cauhape Louis Speyer Harps Eugen Lehner Bernard Zighera Clarinets Albert Bernard Olivia Luetcke George Humphrey Gino Cioffi Jerome Lipson Manuel Valerio Piano Robert Karol Pasquale Cardillo Bernard Zighera Reuben Green E\) Clarinet Bernard Kadinoff Library Vincent Mauricci Bass Clarinet Victor Alpert Earl Hedberg Rosario Mazzeo William Shisler Joseph Pietropaolo [4] EIGHTIETH SEASON • NINETEEN HUNDRED SIXTY- SIXTY-ONE

Fifth Program

TUESDAY EVENING, April i8, at 8:30 o'clock

Schumann Overture to "Genoveva"

Mendelssohn Octet for Strings, in E-flat major, Op. 20

I. Allegro moderate ma con fuoco

II. Andante

III. Scherzo: Allegro leggierissimo

IV. Presto

INTERMISSION

Beethoven Symphony No. 4, in B-flat major. Op. 60

I. Adagio; Allegro vivace

II. Adagio

III. Allegro vivace IV. Allegro, ma non troppo

BALDWIN PIANO rCA VICTOR RECORDS

[5] OVERTURE TO THE OPERA "GENOVEVA," Op. 81 By Robert Schumann

Bom in Zwickau, Saxony, June 8, 1810; died in Endenich, near Bonn, July 29, 1856

Genoveva, an opera in four acts to a text of Robert Reinick rewritten by the composer, was composed in 1847 and first performed at Leipzig, June 25, 1850. The opera was produced in various opera houses of central Europe in the seventies and eighties. It has been rarely performed in the present century. The overture was performed at the Gewandhaus concerts in Leipzig, February 25, 1850, at a pension fund concert conducted by Schumann. It was performed for the

first time in Boston at a concert of the Harvard Musical Association, March 1, 1866. It was first played at the concerts of the Boston Symphony Orchestra, March 10, 1883. The overture requires 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings. COMPOSERS like Schubert, Schumann, Mendelssohn or Brahms, lack- ing a sufficient instinct for the theater, sometimes nourished secret or avowed ambitions to compose operas, that broad avenue to possible fame and fortune. Schubert made attempts, while the self-critical Mendelssohn and Brahms knew better than to step out of the chamber or concert hall where they were in their own element. Schumann with his literary turn of mind tried once to achieve an opera, and put his heart into a single, protracted effort. He had written to Griepenkerl as early as 1842, "Do you know what is my morning and evening prayer as an artist? German opera. There's a field for work." Schumann played with thoughts of various famous subjects which have since been treated by others: Maria Stuart, Till Eulenspiegel, Faust, the Nihel- ungenlied, Sakuntala. When he asked Reinick in 1847 ^^ make a libretto out of the drama of Genoveva, he was aware of Tieck's drama, Leben und Tod der Heiligen Genoveva, and Hebbel's drama Genoveva

[6] of 1843. He reshaped Reinick's libretto to his musical purposes and called upon Hebbel to help solve his difficulties, but Schumann in 1847 was morose and uncommunicative, and Hebbel, visiting him in Dres- den, departed baffled. Schumann, who had recently listened to a read- ing by Wagner of his projected Lohengrin without understanding how such a text could be set to music at all, was at last compelled to work out his own quite by himself. According to a tale in Voragine's Golden Legend of the 13 th century, retold by later doctors of theology, Genevieve, the daughter of the Duke of Brabant, is plotted against in her husband's absence by his steward,

Golo. She is falsely accused of infidelity, banished into the forests and only after many years exonerated. The story of Schumann's opera is more involved although still based on the pique of the central villain, Golo, when the heroine has (in libretto English) "resisted his amorous importunities." There are dire sub-plots which fail in the end before the abiding virtues of the steadfast wife, Genoveva, while Golo is at last seen to jump from a cliff in despair. Philip Hale, discussing this opera in his program notes, decided that Schumann, "a Romanticist, did not appreciate nor recognize the value of a dramatic subject. In his revision of the text, he did not individualize sharply his characters. Golo is an ordinary villain of melodrama, Genoveva is a good and tiresome person,

Siegfried [the husband] is a ninny. The music, however beautiful or noble it may be, lacks the most essential quality: it is never dramatic."

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[7] Yet it should be noted that Schumann could be intensely dramatic in a symphonic sense and that the overtures to such works as Genoveva and Manfred attain their purposes with fine certainty and have accordingly found a place in concert halls. Mr. Hale in his interesting note, gives a formidable list of composers who have treated the subject of the virtuous Genevieve, including Haydn (in an opera for marionettes), Piccini, Huttenbrenner (remembered as the friend of Schubert), and many others long since forgotten. Offenbach contributed music to "a reckless and impudent parody" produced in Paris in 1867. "The censor objected, not to the indecencies of the text, not to the degradation of the pure Genevieve of the old legend, but to a duet on the ground that the gendarmerie should not be ridiculed." The difficulty was solved when the character of the gendarme was raised to the rank of sergeant. Schumann submitted his opera to Leipzig, but was forced to wait

through three years of postponements before it was finally mounted. Much was made of the event, friends gathered from far and wide. The retiring Schumann was acutely embarrassed at the friendly demonstra- tion, especially when he was dragged out upon the stage and, according to the custom of the time, a laurel wreath was placed upon his head. There were three performances and the opera was shelved. [copyrighted]

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[8] OCTET FOR STRINGS, in E-flat major, Op. 20 By Felix Mendelssohn-Bartholdy

Born in Hamburg, February 3, 1809; died in Leipzig, November 4, 1847

Mendelssohn composed his String Octet in 1825. The parts, all individual, consist of 4 violins, 2 violas and 2 cellos. It was performed by the string sections of this

Orchestra November 7, 1885, and again on November 26, 1920. The composer made an orchestration of the Scherzo for London in 1829, when he conducted his "First" Symphony in C minor there and inserted this in place of the existing third movement. The orchestration calls for wood winds in pairs, horns, trumpets, timpani and strings.

A PREFATORY notc by the composer on the score of the Octet indicates -^"^ the suitabiHty of this music for larger forces: "This Octet must be played by all instruments in symphonic style. Pianos and fortes must be strictly observed and more sharply emphasized than is usual in pieces of this character."

The Octet is described by Wilhelm Altmann in Cobbett's Cyclopedic Survey of Chamber Music: "This work in no way suggests the hand of a youth of sixteen, but rather that of a grown man, whose romantic and often original ideas are set down in beautiful, perfectly finished form. Octets for wind instruments had of course been popular ever since Haydn's day; and Spohr had already experimented with double

The New England Conservatory A COLLEGE OF MUSIC James Aliferis, President

BACHELOR AND MASTER OF MUSIC In All Fields DIPLOMA AND ARTIST'S DIPLOMA In Applied Music

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Performing Organizations SYMPHONY ORCHESTRA • SYMPHONIC WIND ENSEMBLE OPERA • ORATORIO CHORUS • A CAPPELLA CHOIR

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For information regarding admission and scholarships, write to the Dean.

290 HUNTINGTON AVENUE BOSTON 15. MASSACHUSETTS

[9] THE BERKSHIRE FESTIVAL PROGRAMS BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director IN THE MUSIC SHED AT TANGLEWOOD Friday and Saturday Evenings at 8:30; Sundays at 2:30 Series

1 — BACH — July 7: The four suites; July 8: Brandenburg Concertos 2, 3, 5, 6, Cantata 202 (Adele Addison); July 9: Sinfonia, Piano Concerto in D minor (Lukas Foss), Magnificat.

2 - MOZART - July 14: Symphony ("Linz"); Serenade in C minor, Adagio and Fugue (K. 546), Symphony in G minor (No. 40); July 15: Bassoon Concerto (Sherman Walt), Flute Concerto (K. 313) (Doriot Anthony Dwyer), Sinfonia Concertante (K. 297b); July 16: Symphony in A (No. 29), Piano Concerto in D minor (Seymour Lipkin), Cantata, "Davidde Penitente." ^

3 - July 21 : BEETHOVEN, Overture, ''Coriolan*'; BRAHMS, Symphony No. 1; POULENC, "Gloria"; July 22: SCHUMANN, Overture "Genoveva"; SCHUMAN, Symphony No. 7; BEETHOVEN, Viohn Concerto (Isaac Stern); July 23: RESPIGHI, Antique Dances; VIOTTI, Violin Concerto and BARTOK, First Violin Rhapsody (Isaac Stern); FALLA, Three Cornered Hat; STRAUSS, Rosenkavalier Suite. (Conductor: Pierre Monteux)

4 - July 28: COPLAND, "Preamble for a Solemn Occasion" and "Appalachian Spring" (conducted hy composer); RAVEL, "Daphnis et Chloe" (complete); July 29: STRAUSS, "Don Juan"; HARRIS, Symphony No. 3; ROUS- SEL, "Bacchus et Ariane"; BRAHMS, Symphony No. 2 (Conductor: Eugene Ormandy); July 30: PISTON, "Three Nev^^ England Sketches"; LISZT, Piano Concertos Nos. 1 and 2 (Byron Janis); BEETHOVEN, Symphony No. 4.

5 - August 4: BEETHOVEN, Overture "Fidelio"; SCHUMANN, Piano Con- certo (Eugene Istomin); STRAUSS, Dance of Salome; SIBELIUS, Symphony No. 2 (Conductor: Pierre Monteux); August 5: BRAHMS, Haydn Variations; PROKOFIEV, Piano Concerto No. 2 (Nicole Henriot-Schw^eitzer); FRANCK, Symphony; August 6: BEETHO- VEN, Symphony No. 7; BARTOK, Viola Concerto (Joseph de Pasquale); RESPIGHI, "Pines of Rome."

6 - August 1 1 : HAYDN, Symphony No. 88; MAHLER, Symphony No. 2 (Conductor: Richard Burgin); August 12: SHAPERO, Adagietto; STRA- VINSKY, "Symphony of Psalms"; TCHAIKOVSKY, Symphony No. 5 (Conductor: Leonard Bernstein); August 13: HANSON, "Elegy for Serge Koussevitzky"; HONEGGER, Symphony No. 1; BEETHOVEN, Symphony No. 3.

7- August 18: MENDELSSOHN, Octet for Strings; DEBUSSY, "La Mer"; BEETHOVEN, Piano Concerto No. 4 (Claudio Arrau); August 19: STRAVINSKY, "Petrouchka" Suite; RACHMANINOFF, Piano Concerto No. 2 (Gary Graffman); TCHAIKOVSKY, Symphony No. 6 (Conduc- tor: Pierre Monteux); August 20: BERLIOZ, "Romeo et Juhette." Tickets at the Festival Office, Symphony Hall, CO 6-1492 [.o] quartets in which the second played the part of an accompanying rather than a competitive group. But this octet was the first of its kind, and remains a model of the type, even though it has not had many successors; for it is not easy to get together in private eight string- players. Each of the eight instruments has justice done to it, although the seconds are not brought much into prominence and the first violin part has the bravura of a concerto, the leader often having his work cut out to hold his own against the weight of tone in the other seven. The sea of sound that rages through this octet is very powerful, achiev- ing, indeed, quite an orchestral tone at times, though there is no lack of delicate soft passages. The extraordinary freshness of invention is

a never-failing delight, and never is the wealth of melody obscured by

the ornamentation, of which free use is made. The first movement

opens with a vigorous theme which is accompanied by a tremolo and

syncopations. This is followed by a fanfare-like subject, after which a

semiquaver figure — at first soft and mysterious but afterwards used repeatedly at full strength and greatly extended — leads into the dreamy second subject. The development section shows great mastery of form. The recapitulation contains many a subtle variant, and the movement

ends with a brilliant coda. The richly ornamented andante is at first

^eolian=^feinner (l^rgan Company Designers of the instruments for: THE BOSTON SYMPHONY ORCHESTRA THE DETROIT SYMPHONY ORCHESTRA THE PHILADELPHIA ORCHESTRA THE NEW YORK PHILHARMONIC Joseph S. Whiteford, President and Tonal Direaor

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[i»] tinged with melancholy; the general tone of the middle section is, however, too lively for the movement to present as a whole a sufficiently sharp contrast to the rest of the work, which is definitely of a cheerful character; and it may be added that it sounds particularly effective.

But the gem of the piece is the phantom scherzo, which is played staccato and pianissimo throughout, and is said to have been inspired by a passage in Walpurgis-Nacht of Goethe's Faust. It was arranged later for orchestra by the composer. It is a forerunner of his music to

A Midsummer Night's Dream, and purely as a sound-picture is mar- vellous. (The middle part, which also serves as coda, has much affinity with the corresponding portion of the scherzo in the string quartet,

Op. 13.) The working-out of the themes is also most cleverly managed in this scherzo. A fugue with a magnificent subject forms the opening of the finale, but, owing to the fact that it is introduced on the low notes of the cello and the second viola, it does not always sound satis- factory and is often too orchestral in effect.* The scherzo is repeated here in its original key, and the movement closes with a very effective and melodious coda."

* Cf. similar procedure in the earlier piano sextet, also in the string quartet, Op. 12. [copyrighted]

The Trustees, Dr. Munch, and the members of the Orchestra

express their sincere thanks to those of you who have

already joined the FRIENDS for this season.

It is our earnest hope that those who have not as yet joined

the FRIENDS for this season will do so now.

Your membership will mean much towards the support of

the Orchestra.

Sincerely, Henry A. Laughlin

Chairman, Friends of the Boston Symphony Orchestra

[12] SYMPHONY IN B-FLAT MAJOR NO. 4, Op. 60 By LuDWiG VAN Beethoven Born in Bonn, December i6(?), 1770; died in Vienna, March 26, 1827

This symphony was completed in 1806 and dedicated to the Count Franz von Oppersdorf. The first performance was in March, 1807, at the house of Prince Lobkowitz in Vienna. It is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

It has been noted that in all of his even-numbered symphonies, Beethoven was content to seek softer beauties, reserving his de- fiances, his true depths of passion for the alternate ones. There may well have been something in his nature which required this alterna- tion, a trait perhaps also accountable for the thematic alternation of virility and gentleness, of the "masculine" and the "feminine" in his scores of this period. For the years 1804-1806 were the years of the colossus first finding his full symphonic strength, and glorying in it, and at the same time the years of the romantic lover, capable of being entirely subdued and subjugated by feminine charm. They were the years which produced the "Eroica" and C minor symphonies, and the "Appassionata" Sonata on the one hand; on the other, the Fourth Symphony and the Fourth Piano Concerto, not to mention Fidelio and the three Razumowsky Quartets. It may have been some inner law of artistic equilibrium which induced Beethoven, after drafting two movements for his C minor Symphony in 1805, to set them aside, and devote himself, in 1806, to the gentler contours of the Sym- phony in B-flat, which, completed in that year, thus became the fourth in number. Robert Schumann compared this Symphony to a "Greek maiden between two Norse giants." The Fourth, overshadowed by the more imposing stature of the "Eroica" and the Fifth, has not lacked champions. "Th€ character of this score," wrote Berlioz, "is gen- erally lively, nimble, joyous, or of a heavenly sweetness." Thayer, who bestowed his adjectives guardedly, singled out the "placid and serene Fourth Symphony — the most perfect in form of them all"; and Sir George Grove, a more demonstrative enthusiast, found in it some- thing "extraordinarily entrainant — a more consistent and attractive whole cannot be. . . . The movements fit in their places like the limbs and features of a lovely statue; and, full of fire and invention as they are, all is subordinated to conciseness, grace, and beauty." [copyrighted] HARRY GOODMAN KATE FRISKIN Pianist and Teacher PIANIST - TEACHER 8 CHAUNCY STREET 143 LoNGWooD Ave. CAMBRIDGE, MASSACHUSETTS Brookline, Mass. ASpinwall 7-1259 ELiot 4-3891

[13] LIST OF WORKS

Performed in the Cambridge Series DURING THE SEASON 1960-1961

Bach Suite No. 4, in D major II November 15

Beethoven Symphony No. 1, in C major, Op. 21 IV January 31

Symphony No. 4, in B-flat major, Op. 60 VI April 18

Symphony No. 6, in F major, "Pastoral," Op. 68 III December 20

Symphony No. 7, in A major. Op. 92 I October 18 Twelve Contra-dances III December 20 Brahms Symphony No. 2, in D major. Op. 73 III December 20 Franck Symphony in D minor V March 14 Haydn Symphony in B-flat major. No. 98 I October 18 Mendelssohn Octet for Strings, in E-flat major VI April 18 MiLHAUD La Creation du monde V March 14 Suite Proven^ale II November 15 Mozart Piano Concerto No. 20, in D minor, K. 466 Soloist: MONIQUE HAAS II November 15 Piston Three New England Sketches I October 18

Prokofiev Piano Concerto No. 3, Op. 26 Soloist: ALEXANDER UNINSKY IV January 31 Ravel Concerto for the Left Hand Soloist: MONIQUE HAAS II November 15

Schumann. . Overture to "Genoveva" VI April 18 Violin Concerto in D minor Soloist: HENRYK SZERYNG V March 14 Smetana "The Moldau" ("Vltava"), Symphonic Poem IV January 31 TcHEREPNiN Symphonic Prayer IV January 31

LoRiN Maazel conducted the concert on December 20 Richard Burgin conducted the concert on January 31

[14] 1961-1962

Boston Symphony Orchestra

CHARLES MUNCH, Music Director \y

A Series of Six TUESDAY EVENING CONCERTS

at 8:30

October 31 January 9 March 21 November 21 February 21 April 11 \/

Applications are now being accepted at the

Subscription Office in Symphony Hall.

THOMAS D. PERRY, JR., Manager

Symphony Hall, Boston, Mass.

1»5J '7/ is my sincere pleasure to endorse and recommend the Baldwin Piano. Because of its brilliant,

resonant tone the Baldwin is unequaled in Concerto

works with orchestra or in recitalJ'—Charles Munch,

Music Director, Boston Symphony Orchestra.

BALDWIN 160 Boylston Street • Boston HAncock 6-0775